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Conceived as a tribute to Ludwig van Beethoven, this work represents a postmodernist view of the past that can be compared to a kind of ‘musical vocabulary’ in which, like an alphabetical order of words, placed musical terms devoid of their stylistic and historical coordinates. The composer extracted the initial motif from Beethoven's Ninth Symphony, which symbolizes the birth of music from silence, from that "musical vocabulary" like "sound data". However, this 'sound data' was taken only as a starting point in the conquest of sound space, in which the dramatic power of Beethoven's symphony was freely layered with compositional and technical elements of expressionist authors: special instrumental effects of Stravinsky (glissando flageolets on string instruments) and his surfaces with shifted rhythmic accents, Bartokowski folk-colored melodic lines and Berg's timbre-differentiated orchestration. All this influenced this music to take on an extraordinary charge, which manifested itself through unstoppable progress towards the peak with the timpani solo, which could remind us of tense movie action scenes similar to those in the latest episode of the Star Wars franchise. By unrestrained ‘vocabulary’ combining different stylistic and genre ‘sound data’, this composition presented us in an interesting way with a postmodernist address to the recent or distant musical past.

- Stefan Savic

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